Lighting design

Darcy Burke, Lighting designer

 

I've been involved in theatre my entire life, and I've been working in technical theatre for the past seven years. my experience includes being a member of the costume crew for three productions, operating a spotlight for one production, designing lighting for three productions, programming and running a light board for four productions, assisting stage managing for one production, production managing for one production, and assisting the scenic carpentry for five productions.

how did You approach the overworld vs underworld concept in the play and their differences?

    "In the original script, the set does not change much. Because of this, I knew that lighting would be integral to showcasing the difference between the two worlds. Our director, Padraig, had a clear idea of what color palettes he wanted for the Overworld and Underworld, which was very helpful for me as a lighting designer. On a more simplistic level, the colors change when our characters move between the worlds. The Overworld is cloaked in whites and blues, while the Underworld is cloaked in reds, greys, and blacks. This color scheme ties into the costumes as well, which is something I had to keep in mind while designing the lighting. Aside from color, one aspect of the Underworld that I envisioned was the obstruction of light. I did not necessarily view it as a dark, depressing place, but rather as having an obstructed light source. This can be seen in some of my research images. Overall, color is very important when it comes to showcasing the difference between the Overworld and Underworld. There is a moment in Scene II of the Third Movement where Eurydice and Orpheus meet in the Underworld. The light around them turns blue, to showcase their memories of being together in the Overworld. Eurydice, however, is wearing a red dress. I had to design the lighting in a way that the color of her dress was not overshadowed or covered by the blue lighting."

- Darcy Burke, LD

Do you intend to use practical lighting, and if so, what do you intend to use and how?

     "I plan on using three practicals: two lanterns and a glowing umbrella. The lanterns and LED tape
for the umbrella are all battery-operated. Orpheus and Eurydice will use the lanterns during their
wedding (First Movement, Scene IV), and during their meeting in the Underworld (Third
Movement, Scene II). Eurydice will use the umbrella when she arrives in the Underworld via the
elevator (Second Movement, Scene I). The LED strips inside her umbrella will emit light down
upon her. These strips are remote operated, and can be turned on and off by a stagehand. The
lanterns have a dimmer switch, which can be operated by the actors or a stagehand.
"

 - Darcy Burke, LD

Final Lighting Materials List

Rosco Regency (window pane) gobo (x3)

Rosco Water 4 gobo (x4)

Rosco Shower gobo (x1) 

Rosco Whirlpool gobo (x1) 

Rosco Roscolux 74 Night Blue gel 20 x 24" sheet (x1) 

Rosco Roscolux 19 Fire gel 20 x 24" sheet (x1) 

Amazon WisHomee Vintage LED Hurricane Lantern (x4) 

LED Strip Lights Battery Powered with Remote Control (x1) 

 

Instruments from Loewe stock:

Rosco I-Cue intelligent mirrors (x2) - 25-50 degree Source Four jr. (x9)

Instruments from Goldberg stock:

Altman Fresnels (x10) - Atman Specials (x2)

check out some of their image references.

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